Archive for January, 2014

“Hasselblad is to launch what it calls “the world’s first 50MP medium format camera using CMOS sensor technology” in March 2014.Ove Bengtson, Hasselblad Product Manager said: “This pioneering 50 megapixel CMOS sensor camera is based on our H5D-50 model but will offer a faster capture rate; longer shutter speed capability and much greater ISO performance. It will provide greatly improved Live Video in Phocus and will also be available with Multi-Shot functionality.“

Hasselblad’s new CEO Ian Rawcliffe said: “This is a world-first and underpins Hasselblad’s status at the forefront of camera technology. It will be the first of a number of medium format capture innovations we have planned for the coming months.“

The Sony D6503 ‘Sirius’ will support 4K video recording, a feature that was much rumoured for the Xperia Z1 ‘Honami’ last summer. This time it is included as can be seen in the camera app below.

Another great new feature is “Timeshift video” that will allow you to record in a high frame rate which you can then apply slow motion effects to. We imagine this is something similar to slow motion video on the iPhone 5S, which captures video at 120 frames per second in 720p, with slow-mo effects added after.”

“One of the most frequently asked questions I’ve gotten over the years is “I’m planning on using a plasma display for color critical monitoring, but I’m not sure how to calibrate it.” I’ve been putting off answering this question for months, as the answer has, until recently, been a bit more complicated then I’ve wanted it to be. However, recent developments – specifically the release of DaVinci Resolve 10 – have dramatically simplified this process, making LUT calibration easier then it’s ever been for small shops.

In this article, I’m going to illustrate the process of automated LUT calibration using the particular software and hardware combination that I’ve been working with:”

“I admit to not being able to keep these products straight so I thought I’d ask Avid to explain them to me

Adobe made a big splash over the last year + with Adobe Anywhere, their “real-time collaboration” platform meant to connect editors without physical limitations. If you have the right hardware then Adobe Premiere Pro CC is ready for Adobe Anywhere. Avid also has their own version of this real-time collaboration idea … in fact Avid had this option available before Adobe had Anywhere. It’s called Interplay Sphere and I don’t know much about it. Since The Editblog did a Q and A with Adobe about Anywhere it’s only fair we do the same with Avid.”

“The Dolly Zoom is a camera shot made famous in Alfred Hitchcock’s VERTIGO (1958). It was invented by cameraman Irmin Roberts to visually convey the feeling and effects of acrophobia by zooming in with the lens while simultaneously dollying the camera backwards…or vice versa. Since 1958 it has been used hundreds of times in motion pictures…sadly most of the time only as a trick shot. Filmmakers often use it because it looks cool, has direct cinema lineage to Hitchcock and they love to point out it’s in their film. Just because you can doesn’t mean you should. This post is about the WHY not the HOW.”

The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you’re interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.

“In this Episode of the ColorCast, the Coloristos benchmark the 2013 Mac Pro and discuss it’s performance results compared to a 2010 12-Core model with Resolve 10 using a number of different GPUs in both OS X Mountain Lion and Mavericks.”

The Coloristos are:

• Josh Petok, a colorist working on reality and episodic television in Los Angeles.

• Juan Salvo, a colorist and online editor for films and commercials in New York.

“Sony USA has put up this detailed video for those who want to understand XAVC, and Sony’s vision for it:

Hugo Gaggioni, CTO of Sony Professional Solutions of America presents the technical information covering the attributes and benefits of the new XAVC video compression format established by the Sony Professional Group. Hugo explains how XAVC fits into current production workflows, along with well-established compression formats such as MPEG2, MPEG4 SStP and various camera RAW files.“